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Tenor Zach Borichevsky is “equipped with a flexible, bright voice that already has made him one of the most sought-after singers of his generation.” Mr. Borichevsky is known as a “star-level tenor” with “precise, nuanced high-register singing and agile acting,” paired with a “magical sense of complete spontaneity that comes from being in total command of the instrument.” A series of significant débuts have established Mr. Borichevsky as one of the most thrilling vocal talents to appear on the international stage; he has created widely celebrated international performances in roles such as Rodolfo in La bohème with Finnish National Opera, Romeo in Roméo et Juliette and Pinkerton in Madama Butterfly for Teatro Municipal de Santiago in Chile, and Alfredo in La traviata for the Glyndebourne Festival.  He made his Metropolitan Opera début as Edmondo in Manon Lescaut, Santa Fe Opera début as Anatol in Vanessa, and English National Opera début as Rodolfo in La bohème.


This season, Mr. Borichevsky joins Nashville Opera, Virginia Opera, and Florentine Opera to sing Don José in Carmen; he has two house débuts: with Opera Colorado as Rodolfo in La bohème and San Diego Opera as Alfredo in La traviata; and he returns to The Metropolitan Opera to cover the Duke in Rigoletto.  He will also sing in recital with his wife, soprano Kathryn Lewek at the Danbury Concert Association, Fairfield County Chorale, and in Beethoven’s Symphony No. 9 with Kent Tritle at St. John the Divine. Last season, Mr. Borichevsky made his house début with Opéra Nice Côte d’Azur as Edgardo in Lucia di Lammermoor and returned to The Metropolitan Opera to cover Rodolfo in La bohème and Roméo in Roméo et Juliette. Additionally, he took his Roméo to Toledo Opera, sang Cavaradossi in Tosca with Dayton Opera, and was the tenor soloist for Handel’s Messiah with the New Choral Society.



"... masterful…” – OperaWire

Faust– “Borichevsky revealed himself to be a masterful and technically competent lyric tenor with an innate cut and ring despite the role’s required forays into the dramatic territory. From the moment he began to the moment of his inevitable damnation, Faust’s corrupted goodness was invoked in Borichevsky’s consistent spinning tunefulness and equipoised registrar movements. Loosening control during moments of extreme passion and experiential climax, Borichevsky delighted and captivated the audience with his presence.”


“…ringing tenor full of pathos…” – The Post and Courier

Salome – “Zach Borichevsky, who played the heartsick Narraboth, writhed appropriately and possessed a ringing tenor voice full of pathos”


"...consistently strong and richly varied..." – Zebra

Verdi's Requiem – "The two men brought great excitement to their roles and performances, especially tenor Zach Borichevsky, whose consistently strong and richly varied, impressive sound could, I'm sure, be heard throughout the house."


" of the most sought-after singers of his generation..." – Seen and Heard International

La bohème – “Zach Borichevsky’s Rodolfo, tall, lean, good-looking was a Rodolfo of one’s dreams, equipped with a flexible, bright voice that already has made him one of the most sought-after singers of his generation. His pianissimos should teach many a can belto tenor a lesson.”


"...the star of the premiere..." – Helsingan Sanomat

La bohème – “Borichevsky was the star of the premiere – a grander and more romantic-looking Rodolfo would be hard to find. The tall young man has a clear natural tenor voice, which rises high with unforced buoyancy. His beautiful lyric sound is a sleek metallic splendor. He will soon rise to the top of the international opera world.”


" total command of the instrument...” – What’s On Stage

La traviata – “The revelation, though, was the young American tenor Zach Borichevsky, who made an astonishingly assured company (and indeed UK) debut as Alfredo. Packing a distinctively dark-coloured, fluent lyric tenor, he turned in a performance that was not only technically flawless but also had that magical sense of complete spontaneity that comes from being in total command of the instrument.”


" exciting sound..." – Opera Today

Roméo et Juliette – “Tall and slim with an exciting sound to his tenor voice, Borichevsky was perfect for [Roméo].”


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